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Daniel Craig & Rachel Weisz Hold Hands on Opening Night!

Daniel Craig & Rachel Weisz Hold Hands on Opening Night!

Daniel Craig and Rachel Weisz hold hands while leaving the Barrymore Theatre and getting into their car together on Sunday evening (October 27) in New York City.

The married couple had their official opening night performance of their Broadway play Betrayal that evening. It was a star-studded night with tons of celebs in the audience!

PHOTOS: Check out the latest pics of Daniel Craig

Daniel and Rachel will be starring in the production through January 5, but tickets are practically sold out already for the entire run, so get yours fast if you want to see the show!

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  • Sayer

    Beautiful, age-appropriate couple.

  • ana

    They really seem to be solid.

  • Fio

    Betrayal: Theater Review
    NEW YORK – In the Internet age of sexting scandals and tabloid humiliation, infidelity without public shaming seems almost quaint. So why is Harold Pinter’s 1978 play, Betrayal, still such a bristling drama? Its structural brilliance, for one thing, tracking an adulterous triangle in reverse chronology that stretches back nine years and uncovers as many mysteries as it solves. It also doesn’t hurt to have actors like Daniel Craig, Rachel Weisz and Rafe Spall at the absolute top of their game. Likewise, director Mike Nichols, who coaxes his cast to mirror their characters, carefully parsing every word for hidden meaning. In a play largely about what’s unsaid, that makes for thrilling theater.
    Craig, last seen on Broadway opposite Hugh Jackman in 2009’s A Steady Rain, showed his dynamic stage chops even in a mediocre play. With a jewel like this one, he’s magnificent. Dressed in an impeccably tailored suit, with his silver mane raked back, he looks the epitome of the high-end London literary scene – like Julian Barnes with a kickass trainer. Leonine and intensely physical as an actor, Craig appears to be prowling even when standing still. His masculine self-possession can signify danger – an accusatory stare that he fixes on his petrified wife before moving in to reclaim her sexually is terrifying in its subdued violence. But the characterization’s emotional rawness is no less transfixing, conveying both the wounds and the rage beneath the prideful composure.
    Craig gets some of Pinter’s sharpest writing in a savagely funny scene where he discusses the male rituals surrounding a game of squash, his exclusion of Emma carrying the force of a slap; or when he gives a ferocious account of the arduous process of launching a successful novel. In both cases, of course, he’s really talking about something else altogether. The latter conversation is an exchange over lunch with an increasingly apprehensive Jerry. This is one of a handful of scenes in which Nichols plays up the underlying homoeroticism in their friendship, with Craig leaning in like a canoodling lover on the banquette before pulling back to vent his indirect anger.
    Watching Craig and Weisz – an offstage husband and wife – explore the unique capacity of a married couple for mutual cruelty adds another fascinating layer. In her Broadway debut, Weisz makes her character’s pain incandescent. Her Emma is an unhappy beauty who can be emotionally transparent one minute, brittle and unreadable the next. The actress brings a deliberate stilted, somewhat tremulous quality to the performance that is perfect for Pinter; her line readings suggest Emma’s awareness that any ill-chosen word might detonate a bomb. Like her male co-stars, Weisz leaves her character’s motivations open to interpretation, which makes this production of Betrayal keep playing out in your head days after seeing it.

  • Fio

    Broadway Review: ‘Betrayal’ – Daniel Craig smolders in Mike Nichols’ pitch-perfect, expertly acted revival
    Anyone who shelled out the big bucks to see James Bond in the flesh will get more than they bargained for in Mike Nichols’ impeccable revival of “Betrayal.” They’ll be getting a powerful performance from Daniel Craig, a movie star who still has his stage legs. Rachel Weisz, Craig’s wife in the real world, and Rafe Spall, both superb, claim much of the stage time as the adulterous lovers in this enigmatic 1978 play that Harold Pinter based on one of his own extramarital affairs. But it’s the smoldering Craig, as the cuckolded husband, whose brooding presence is overpowering.
    Staged by Nichols as a close encounter in a tightly contained space, the scene drips with menace. Although the dialogue is quite civilized and utterly British, the underlying tone of Robert’s lines and the flashes of fury on Craig’s craggy face (even as he extends an invitation to play a friendly game of squash) give away the unspoken emotions at play. The repeated references to squash are positively chilling, and if custom allowed, we’d stand up and warn Jerry: Don’t you dare go onto the squash court with this guy — he will kill you dead!
    Pinter being Pinter, the most shattering emotions are felt, but not expressed, in the silences between words. Nichols’ sense of timing in these subdued moments is infallible, allowing his actors to speak volumes about the inner lives of their characters without moving their lips.

  • Fio

    ‘Betrayal’ Theater Review: James Bond’s a Loutish Cuckold

    It’s as if Pinter is playing a game – to see how many betrayals he can rack up in the course of nine scenes and 100 minutes. It’s to the credit of Nichols and his actors that we forget about Pinter’s game and care deeply about the people on stage.
    The other game is that Pinter plots “Betrayal” in reverse, from the end of Robert and Emma’s affair in 1977 in a pub to its beginning in 1968 at a party. Weisz and Spall are so charming and engaging throughout that a palpable sadness settles over the Barrymore Theatre late in the play when we see them so physically and romantically engaged in the flat they’ve rented.

    Where did the love/lust go? You’d never experience that regret so firsthand if the order of the play’s scenes were written in a conventional forward chronology and Robert and Emma were realized with less sympathetic performances.

    It’s a sly piece of casting to have James Bond not play the lover. What woman would want to, dare to, cheat on James Bond? Adding even further to the slight confusion is that Craig, right from the getgo, presents a very loutish cuckold. Yes, Robert is cheating on Emma as well, but Pinter leaves those girlfriends offstage, they are never identified, and none of those affairs, we assume, have the full-blown love-affair stature of Emma and Jerry’s romance.

    It’s a marvel of acting to watch Craig slowly bring the subtext of raging anger to the fore in scene after scene as Spall and Weisz effectively react with knowing silence.

  • Fio

    Betrayal, Ethel Barrymore Theatre, review
    YOU have to applaud Daniel Craig, a film icon (thank you, James Bond) who began in the theatre and returns there still. Across the Atlantic, he’s been the best thing about his two New York stage ventures to date, and when Craig is allowed to feast on the emotionally famished world of Harold Pinter’s Betrayal, audiences at this Broadway season’s most-anticipated offering are unlikely to feel let down.
    Whether that public will get much of a feeling for the teasingly erotic and shivery byways of Pinter’s 1978 play is another matter. Then again, maybe in true New York tradition they will be sufficiently thrilled to have scored a ticket that they won’t care.
    Ever since the director Mike Nichols’s revival of the play was first announced, Broadway has gone into the kind of lather usually reserved for stars such as Tom Hanks, Bette Midler and Denzel Washington. Not to mention Craig back in 2009, when his Broadway debut in A Steady Rain, opposite Hugh Jackman, elevated a tepid American two-hander to must-see status.
    The curiosity value inherent in watching the Craigs play a couple whose marriage runs amok could account for “premium seats” selling in excess of $400 (£250) and weekly grosses well beyond $1 million (£618,000). Indeed, The New York Times took the unusual step during previews of lamenting the “astronomical ticket prices” that place the show out of the financial reach of mere mortals.
    Craig, who occupies the most explosive point on the play’s libidinous triangle, easily comes off the best, playing Robert, the publisher whose wife, Emma (Weisz), is revealed to have had a seven-year affair with his great friend, Jerry (Spall), who was best man at the couple’s wedding — a rather cartoonish best man on this evidence, given that Spall plays the gathering ache of the text largely for laughs. (There’s also a hint that these Oxbridge contemporaries, plied with enough drink, might well become more than simply friends.) Across nine scenes and as many years, Pinter rewinds events to conclude with the telling physical act that launched the affair, a small yet impulsive gesture here replaced by the sight of Jerry and Emma all but devouring one another: overstatement where less would be more, and sexier, too.
    Perhaps Nichols felt Broadway audiences wouldn’t warm unaided to Pinter’s coolly revealing strategy, which deploys passion in the service of a play given over thematically to lovelessness and loss. There’s a defining sequence in which Craig’s charismatically simmering Robert re-enters his living room and, for a brief instant, you don’t know whether he’s going to strike Emma or sweep her into his arms.
    I won’t reveal what happens except to say that it’s a superbly ambiguous moment: dangerous, charged, alive. This Betrayal could use more of the same.

  • Fio

    Daniel Craig, Rachel Weisz review: In ‘Betrayal,’ it’s a man’s world – Daniel Craig, Rachel Weisz and Rafe Spall wrangle for the emotional upper hand in Harold Pinter’s ‘Betrayal,’ directed by Mike Nichols. The guys get the focus; Weisz’s character is odd man out.,0,3460778.story#axzz2iz3WgkWO
    In the current Broadway revival, which is as sleek and luxurious as an Aston Martin (and as jaw-droppingly expensive, with premium seats fetching over $400), the men dominate the action. Daniel Craig, the latest James Bond heartthrob who has helped make this Mike Nichols production a box-office record-breaker even before its official opening Sunday at the Ethel Barrymore Theatre, puts his 007 sang-froid to expert use.
    In Craig’s portrayal, Robert’s fury comes into view like a shark fin skimming the surface of the water. The more he controls his wrath, the more dangerous it becomes. When he makes love to his wife after a visit from Jerry, who has no idea that Robert is in on their secret, he descends on her like she were his prey.
    For much of Weisz’s performance, Emma’s eyes are frosted glass. Yet the character’s inscrutability isn’t a particularly powerful stance. Unlike Craig’s Robert, who appears opaque for the same reason an invading soldier dresses in camouflage, Weisz’s Emma, perpetually in retreat, seems to be acting more in defense than offense.

    Her portrayal zeros in on the disappointment that is motivating Emma’s secrecy. This sought-after object of desire understands that she is in fact the odd man out.

    In Nichols’ reading of the play, there is the suggestion that the men might prefer to be with each other. The homoeroticism of the production isn’t explicit until the last scene, but it retroactively adds weight to a remark Robert makes to his wife earlier in the play after finding out about her affair with Jerry: “To be honest, I’ve always liked him rather more than I’ve liked you. Maybe I should have had an affair with him myself.”

    One of the play’s best scenes, set in an Italian restaurant in which Robert takes out his frustration on Jerry by blowing up at the waiter (Stephen DeRosa), strongly implies that Robert is more heartbroken over Jerry than Emma. Craig exposes the sadness beneath Robert’s displaced anger while Spall throws into relief Jerry’s self-protective bewilderment.

    Nichols takes risks with his interpretation but maintains the necessary ambiguity of the situation. His production would have been stronger, however, if he had allowed Weisz’s Emma to play hardball with the boys. Kristin Scott Thomas would have given Craig and Spall a real match.

    But this “Betrayal” is a decidedly male affair, and Craig and Spall live up to the expectations that have surrounded this most anticipated production of the New York fall season. Whether the work justifies such exorbitant ticket prices is another story.
    Broadway shouldn’t become the playground of the 1 percent, and a Hollywood franchise star who doesn’t need the money (and happens to be a superb stage actor) shouldn’t allow this to be done in his name.

  • Fio

    ‘Betrayal,’ theater review
    Beautiful people doing ugly things always attracts attention.
    Since one of the world’s most beautiful couples — Daniel Craig and Rachel Weisz — signed on as cheating spouses in “Betrayal,” Harold Pinter’s 1978 drama has been the hottest ticket in town. There’s clamoring at the stage door and scalping on the sidewalks.
    But is it worth the hubbub and the hype? Actually, yes.
    The big-screen James Bond and “The Constant Gardener” Oscar winner are smashing and sexy in Mike Nichols’ graceful and stealthily devastating production of Pinter’s autobiographical play.
    Craig proved his stage chops in the 2009 cop drama “A Steady Rain.” Here, with Kirk Douglas-style ’70s hair, Craig brings a virility and vibrant expressiveness to Robert. His character changes the most in terms of temperament, and he never misses a beat as he transitions from who cares to profound hurt.

    Like cheaters slinking around in the night, Nichols’ production moves quietly and purposefully. During his long career, Nichols has proven himself a master of intricate intimacy. He knows how to zero in on humor and pain and make it all burrow deep into your skin. And into your brain.
    It’s a play in which everyone loses — except the audience.

  • Fio

    Weisz Shimmers in Nichols’s Five-Star ‘Betrayal’: Stage
    Daniel Craig, his wife, Rachel Weisz, and Rafe Spall are superb in in “Betrayal,” Harold Pinter’s 1978 drama of infidelity.

    Craig is suave and collegial as Robert, a London book publisher. Spall is hungry and rough-edged in a sexually magnetic way as his best friend Jerry, a writers’ agent.

    Rachel Weisz is extraordinary as Robert’s wife and Jerry’s lover, her face registering with exquisite exactitude every conflicted emotion Emma feels over the course of the seven-year affair. Mike Nichols’s devastating production is above all a showcase for this terrific actress.
    The gimmick of “Betrayal” is that the story, a fleet 100 minutes start to finish, unfolds finish to start, with Emma and Jerry meeting at a bar two years after the affair has ended, and then in brief scenes that take us back in time to their first, feral embrace.

    I’m no great fan of this stratagem (how many decades has Stephen Sondheim spent trying to get a similarly constructed tale right with “Merrily We Roll Along”?). There’s a pretty good reason stories have a beginning, a middle and an end leading to an emotional payoff.

    “Betrayal” opens with a powerful scene of reconciliation and ends in fairly ho-hum fashion with that stolen kiss. Dramatically, it’s a letdown.

    Less so in this case, though. For Nichols has calibrated each of those 100 minutes to strike a nerve. You quickly forget you’re watching capital-S Stars. The show has more urgency than the Broadway original or the very good 1983 film.

    I wish the tickets didn’t require a second mortgage and the audience weren’t restricted to the very wealthy or the very lucky. But this production will stay with me as few others.

  • Fio

    NYTimes didn’t like the play, he praise Daniel’s performance, tho. But The Gurdian really didn’t everything!

  • Fio

    Daniel Craig Returns to Broadway With Springsteen and Spielberg in the Audience
    Wow! What a night on Broadway for Harold Pinter’s “Betrayal.” Before Daniel Craig, his Oscar winning wife Rachel Weisz, and Rafe Spall could even get on the stage of the Ethel Barrymore Theater you had to check out the audience. Bruce Springsteen and Patti Scialfa sitting with Steven Spielberg and Kate Capshaw; Steven Soderbergh and wife Jules Asner with Julia Roberts and husband Danny Moder; former spouses Julie Andrews and Tony Walton; Marlo Thomas with Elaine May and Stanley Donen; Carol Kane in front of them; “Moneyball” director Bennett Miller, and Aaron Sorkin front and center, near Ellen Barkin. Bobby Cannavale with Rose Byrne, and Patricia Clarkson looking screen sirenish as usual. Also in the house: Emily Mortimer and Alessandro Nivola, plus “Skyfall” director Sam Mendes, Sir Ian McKellen, and publishing royalty Vanity Fair’s Graydon Carter and Vogue’s Anna Wintour– sitting on opposite sides of the theater.
    Clearly this was not just another night on Broadway.
    Mike Nichols directed this revival of “Betrayal.” The New York Times didn’t like it but everyone else did. As Elaine May, Nichols’ long time friend and partner, said to me after the show: “Who else could get laughs out of Harold Pinter?” Indeed, Nichols found the much needed humor in “Betrayal” that now gives it humanity as well as fierceness.
    Producer Scott Rudin has a massive hit. I’m sure he wishes it could play past January, when the limited run ends. Premium tickets are selling for up to $500.
    Craig and Weisz play a married couple, Emma and Robert. Rafe Spall plays their best friend, Jerry. His wife is unseen on stage, and Jerry– we learn instantly–has had a seven year affair with Emma. He thinks Robert hasn’t known about it. And then Pinter pulls the story off like layers of an onion. Only he does it backwards, beginning two years after the affair and working his way back to its inception. It’s short, under 100 minutes, and without an intermission.
    Weisz is a proven entity, and she’s excellent as Emma. Spall is interesting choice. This production introduces him to Broadway audiences. But I think it’s Daniel Craig who’s the focus of much of the attention. Most people know him as James Bond. Four years ago he appeared in a two hander called “A Steady Rain” with Hugh Jackman.
    Craig was a surprise then, and he is now. He’s extremely comfortable on stage and seems nothing like stoic Bond. When I asked him if playing Bond was a different acting muscle, he surprised me again. “No,” he said. “It’s the same. It’s all acting. I just try to be honest.” It works.

  • Fio

    Daniel Craig and Rachel Weisz sizzle on Broadway in ‘Betrayal’–tms–lizsmittr–x-a20131029-20131029,0,7407156.story
    “THERE’S NOTHING like the love of a good man!” said Julia Roberts over her shoulder to me after I’d commented on how young and beautiful the actress looks these days.

    This — after she’d come all the way across the Ethel Barrymore Theatre to give me a great hug before Mike Nichols’ opening night of Harold Pinter’s “Betrayal.” (Julia did indeed look spiffy in a sleek black dress and we had a brief chat about life, husband, children and everything except whatever she is doing next. She is a real star and one of my favorites.)

    The VIP crowd included the de la Rentas, the Diller-von Furstenbergs, the Graydon Carters, Elaine May and Stanley Donen, Nick Pileggi and Candice and Marshall Rose, to name just a few. But in its own way, the night was understated. No red carpet, no mercy for the paparazzi — everybody calm, cool and collected. Mr. Nichols I didn’t see, but his bride, Diane Sawyer, was there cheering him on.

    You probably already know how hard it will be to get in to see this play, which set a box office record for a limited run and for sales with top ticket prices well over $400. (When it ends its run on Jan. 5, don’t be astounded if they agree to make a movie out of it. They should.)

    Set in London, “Betrayal” explores an extramarital affair whose mysteries unravel backward chronologically from 1977 to 1968. It is fun to figure out all the nuances on display by consummate actors. I don’t want to spoil anything so I won’t say more about the plot of “Betrayal.” It is slight, but it is powerful.

    Yes, yes, there are four characters, one of them an Italian waiter delightfully played by Stephen DeRosa. Of the other three roles, well…

    Let’s just say that Daniel Craig and his real-life wife, Rachel Weisz, are two of the sexiest people I’ve ever seen in a lifetime of watching the stage. She is a rare beauty, disturbed, lips trembling, eyes blossoming and in her sex scene with actor Rafe Spall, convincing. Mr. Spall received a special dispensation from Actors’ Equity to come play his role in New York and he is just great.
    But Daniel Craig is overwhelming onstage, more so than he is as James Bond onscreen. I saw this charismatic guy with Hugh Jackman in “A Steady Rain” some seasons ago. That was terrific but he managed to damp himself down for the part. Here, he seems magnified, which makes his dubious role more interesting. I’ll say again, he is surely one of the sexiest actors I’ve ever seen live and in person and, honey, I’ve seen a lot of them in 50 years of fandom.

    And here he is playing against himself, for in real life I’m told he is modest and down-to-earth.

    In the play, with its underpinning of friendship between the two men, it is actor Rafe Spall’s role that cements everything together. His final spilling of his early romantic nature brings down the curtain on an explosive note and his speech should be committed, by all great lovers, to memory.

    A real night to remember what a fabled writer Harold Pinter is, what magnified actors can accomplish onstage and what a mighty director is Mike Nichols.

    Oh, and let’s not forget the other unmentioned star of the evening — the drinking onstage, which never ends and nobody becomes falling-down drunk. Did we really drink like that in the ’70s? Hmmm, I guess we did and some of us lived to tell about it.

  • lots

    @Fio: the links don’t work for me for some reason, but I did already read these reviews.
    The honesty in the NY Times cracked me up..
    I already guessed the play would be heavily adapted and frankly I’ll be glad when it’s ended, now I know that Dan keeps his clothes on. Maybe long haired, fully clothed Dan is still a lush sight to behold but I hope he cuts his hair soon and does something really sexy that everyone can enjoy.
    ‘So just how sexy is it? Oh, admit it. That’s the biggest question on your mind. You didn’t pay all that money for tickets to “Betrayal” because it was written by the Nobel Prize-winning playwright Harold Pinter, the great master of existential dread and the vagaries of memory.
    No, I’ll bet what lured you to the box office at the Ethel Barrymore Theater, where “Betrayal” opened on Sunday night in a crude and clunky production, was the prospect of seeing in the flesh one Daniel Craig.’
    LOL! He got that spot on.

  • Cristina

    @Fio Great job, Fio! Thanks a lot

    That’s one of my fave parts:
    “Daniel Craig is overwhelming onstage… I’ll say again, he is surely one of the sexiest actors I’ve ever seen live and in person and, honey, I’ve seen a lot of them in 50 years of fandom.

    And here he is playing against himself, for in real life I’m told he is modest and down-to-earth”.

  • Fio

    to lots
    “He got that spot on.”
    Yeah, As far as that point is concerned, he’s right :)
    BTW, If I remember correctly, Brantly wrote the similar review on A STEADY RAIN…
    to Cristina
    Ms. Smith joined our group! :)

  • Fio

    “The woman with whom I saw the show made her priorities clear afterward, and they are doubtless shared by many. If only, she said, the play had been set in a police station locker room, where the characters might frequently change clothes. As it was, she was thankful for the small mercy that, toward the play’s end, Mr. Craig finally removed his suit jacket and rolled up his sleeves.”
    I have no idea why Brantly gave this bit*hy episode. Jealousy shows he cares? Or a complex of males? lol

  • Fio

    A Steamy Tale Steams Up the Ticket Market
    Broadway’s ‘Betrayal’ Does Brisk Business at Box Office and Online
    “On the secondary market, however, prices are considerably higher. StubHub spokeswoman Shannon Barbara said a buyer who lives in Texas paid $4,240 for two orchestra center seats for “Betrayal.” By comparison, she said, a buyer in 2012 spent $900 for a seat at “Salesman.” Most “Betrayal” tickets are going for $700 or less on the secondary market.”
    $4,240… She plans on getting a kiss from Daniel?

  • just me


    A kiss from Daniel is worth all the money you can possibly think of. Priceless.

  • lots

    Oh this critic loves Dan but delights in cynicism, I love that he does not ignore the elephant in the room. Everything Dan touches turns to gold and producers knew that casting him would guarantee a mahooosive payday!
    Dan is there for one reason only and that is to exude his sexy and give everyone a visual treat. The majority don’t really give a stuff about the play, just want to get an eyeful of Dan and his testosterone LOL.
    I’m not even convinced that Daniel took it seriously. Betrayal was never going to be true to script, Dan said he wouldn’t bother with the ‘Pinter pauses’.

  • Fio

    to just me
    to lots
    Yeah, he was absolutely obsessed with Daniel. lol
    He hardly even mentions Rafa, he’s the leading role tho.
    “I’m not even convinced that Daniel took it seriously.”
    I hope so. Genius usually follows a revolutionary path. I think Daniel is an actor who enjoys testing innovative ideas.

    Daniel Craig – Betrayal
    Actor Daniel Craig steps out to meet show goers after his Broadway performance in Betrayal. The James Bond actor was very kind spoke briefly and signed many playbills. Enjoy!

  • Fio

    Rachel Weisz ‘cheats’ on Daniel Craig in new play – The couple’s performance is already a huge hit, but what’s the fascination?

  • lots

    @Fio: Thanks for the vids. Poor old Rafe hardly gets a look in does he? LOL

  • Cristina

    I don’t know if it’s a new video but enjoy!

  • Guinness

    Thanks Fio…. if you want, I can supply my email and you can just feed it!!! “…he seems prowling even when he is standing still..” ah, some of these are written so well….
    And–he is now basking with the 1%. Let’s just hope he doesn’t go to the dark side (aka Tory side, correct cheeky girl??).

    And he has covered all of his bases… well, most. ‘cept adopt a special needs kid…
    ~been in 2 successful broadway plays? done
    ~rides airplanes commmmando? done
    ~potentially buying an island around Corsica? done, or was that southeastern Africa?
    ~narrate a great animal kingdom or earth kingdom documentary? done
    ~star in a graphic novel-digitally? done
    ~interview a great singer/performer? done
    ~been interviewed by NPR? done
    ~almost have a house on every continent…hhhmmmm… he is missing one think.
    ~live mostly on the east coast, with a country home? done
    ~married a beautiful, intelligent woman–his match? done
    ~get his mane to look like Richard Burton? done.
    ~totally lose Guinness’s interest? hhmmm…let me know if he does something British and outlandish (oops-redundant, right? love you Mendel).

    oh–He hasn’t been on The Simpsons… he ain’t THAT great, eh? Let me know…..

  • Fangalno1

    I am crazy of Daniel Craig, such a brilliant actor… He’s done everything great… I love him except in SNL. Don’t like him doing silly stuff especially with some guy wearing panty hose LOL!

    Can’t stop dreaming about sexy Dan…

  • Launa

    spanglemaker9 ‏@spanglemaker9
    Betrayal was very good. Daniel Craig has just as much magnetism in person as he does in screen. Rachel was less strong.
    spanglemaker9 ‏@spanglemaker9
    And while I love Rafe Spall and he did a great job, I think the part might have been better served by a different actor.
    I guess she’s pretty tired. She looks like she has been burning the candle at both ends.

  • Guinness

    wtf? fur real? gtf outa here. there is no triple ex but Dan. I’m realllllly mad!! Dan, wtf? Mendel–wtf? why? and is this site not posting anything…hhmmm/ WTF?